THE LOOK
HAIR: “We call them sunrise birds,” Angela Missoni said, standing in the courtyard of the Università degli Studi di Milano just before her show, as models made up to look as if they’d been out flamenco dancing until dawn brushed past, their pulled-back hair prettily disheveled. “There’s absolutely no structure to it,” said Eugene Souleiman backstage as he tied Ruby Aldridge’s tangled mane into a messy ponytail, securing it with a Spanish red-enamel comb. “In fact, if I closed my eyes, it’d turn out better—it would have that kind of spontaneous beauty.”

MAKEUP: Morning-after makeup, Missoni-style, is faded almost enough to resemble fresh, clean skin. “It’s like nothing, but there’s something there,” said Lucia Pieroni, whose monochromatic and slightly shiny look implied that the models had been having too much fun all night to worry about reapplying lipstick or powdering their noses. Eyes were smoky, but not smudged, “quite watercolor-y,” in Pieroni’s words. “They’re just kind of sexy girls looking gorgeous, which is always nice for summer.”

NAILS: To play up the party-girl spirit, Newman created 20 different nail coatings—from pink, yellow, and turquoise Missoni-esque zigzags to hologram zebra stripes—and applied them over an iridescent chrome base.THE TOOLS
ON HAIR: To give models’ hair that up-all-night patina, Souleiman slicked down the roots with Wella Rugged Fix, “as if the young lady’s been sweating,” while blowing the hair dry. He pulled the ends into a low ponytail, but, before looping it all through and securing with a length of string, he massaged the sides of the head to create texture. After adding the enamel comb—to reflect the Spanish influence of the clothes—he quickly misted the tail with a shot of Wella Ocean Spritz. “It’s just organic, dirty, and sensual,” he said. “It’s about the beauty of imperfection, really.”

ON FACES: Pieroni lightly swiped M.A.C. Metal-X eye shadow across the cheekbones, chin and bridge of the nose to evoke a sultry radiance, but, “it’s really all about the eyebrows,” she said. To create major, yet not overpowering, brows, she chose eye shadow a shade deeper than each model’s hair color—in most cases, M.A.C.’s Coquette or Copperplate—and lightly skimmed it across the arch. “Since it’s a dark tone, you get this really gorgeous, big eyebrow without looking ridiculous. You need to make it big. It comes down here,” she said, tracing the outer tip with her finger, “so it opens the eye.”